‘Bridgerton 3’: Charithra Chandran on why her character didn’t appear in new season
Chandran’s portrayal of Edwina Sharma in the second season captivated audiences with her grace, vulnerability, and the complex dynamics between her, her sister Kate Sharma (played by Simone Ashley), and Anthony Bridgerton (Jonathan Bailey).
When Netflix's hit series Bridgerton returned for its third season, fans eagerly anticipated the latest romantic escapades and societal intrigues of the Bridgerton family and their peers. However, one noticeable absence was Charithra Chandran's character, Edwina Sharma, who had played a significant role in the second season. Recently, Chandran opened up about why Edwina did not return, shedding light on the creative decisions behind her character’s journey.
Chandran's portrayal of Edwina Sharma in the second season captivated audiences with her grace, vulnerability, and the complex dynamics between her, her sister Kate Sharma (played by Simone Ashley), and Anthony Bridgerton (Jonathan Bailey). Edwina's storyline, which revolved around a complicated love triangle, culminated in her stepping back to allow her sister and Anthony to embrace their true feelings for each other.
In an interview with the Indian Express in 2022, Chandran reflected on Edwina's character, saying starring in Bridgerton "is absolutely a burden and a blessing. I think it's about picking diverse roles that are really different from it and building out a career that doesn't rely too much on the flagship show that launched me. But I'm so grateful for it. It was such a wonderful experience and I have great things to say about it." She added, "I'm not on set for season 3. I'm doing another film. It hasn't been announced yet. It's really exciting!"
Over the past one and a half years, she has announced many projects, including producing a reality show based on the Kama Sutra. She is also set to star in Arzu, a drama based on the novel of the same name, as a young Indian heiress who leaves Mumbai for New York City. She also starred in the film How To Date Billy Walsh, which premiered on Prime Video last month.
The actress was aware that the success that came with Bridgerton could be fleeting. "I've potentially had the biggest success, in my professional life, in the second thing I've ever done," Chandran said in an interview.
She continued, "I'm not saying I'll never do anything grander than Bridgerton. I hope that's not the case – and I have big ambitions. It's just rather bizarre that it was the beginning of my career. I think it has really warped my sense of achievement."
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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